Alexander Nikishin

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Hello all,

Up for sale are the following filter sets as well as a few single filters. Please take a look below at the price break down for each set or single filter(s).

All filters are used and have been well taken care of. There are no optic imperfections anywhere near the shooting area as seen by the lens.

4x5.65" filters:

•Tiffen Gold Diffusion FX 1 - 2 - 3 - 4 - 5
$366 each new, full set $1,830 http://www.bhphotovideo.com/c/produc...5_65_Warm.html
My asking price for the set of four: $1,250

•Tiffen Warm Classic Soft 1/4 - 1/2 - 1 - 2
$366 each new, full set $1,464 http://www.bhphotovideo.com/c/produc...5_65_Warm.html
My asking price for the set of four: $1,000

•Tiffen Warm Soft FX 1/2 - 1 - 2 - 3
$366 each new, full set $1,464 http://www.bhphotovideo.com/c/produc...5_65_Warm.html
My asking price for the set of four: $1,000

•Schneider UV-410 (HAZE)
$268 new http://www.bhphotovideo.com/c/produc...ss_Filter.html
My asking price: $200

•Schneider CTB 1/4
$268 new http://www.bhphotovideo.com/c/produc..._65_Color.html
My asking price: $200

•Schneider 81EF
$268 new http://www.bhphotovideo.com/c/produc...F_Warming.html
My asking price: $200

6x6" filters:

•Rosco Trucolor IR Filter
$324 new http://www.bhphotovideo.com/c/produc..._Filter_6.html
My asking price: $250

I accept local pickups if you're in the LA area, payments if made in person can be in the form of cash or money order, otherwise Paypal is the only other accepted method.

There isn't a "best route" to becoming a Cinematographer IMO.

I personally started out as a Camera Op. and fell into Cinematography from there.

As a Cinematographer, you need to know how to compose shot's well, and light like the devil, or jesus depending on the project.

You should also understand how the lighting and composition used will effect the story and which combination will tell that story best.

How'd it go?

Robert Richardson, Christopher Doyle, Vittorio Storaro, Matthew Libatique.

To me this footage looks like..........Victory.

Look on the pictures above.

D-20 and 4K sensor based camera will compare like Wavelett 2k and Wavelett 4k

D-20 is 6MP sensor and RED is 12MP

If anything to compare to, it is Phantom or Dalsa.

The reason I didn't mention the Dalsa or Phantom is because they are not widely accepted in the feature film world. They are much too large and cumbersome in regards to their recording media.

The Genesis has been used quite a bit from Rodriguez's Grindhouse to Semler's Apocalypto. The D-20 has gotten a shot of life with the new tape deck so it may become a contender just yet.

Yes, Kevin was right -- I'm referrring to RED competing with other cameras in the same price range, since I figure people with a budget of $20,000 to $50,000 to spend on a package are going to look in that arena.

 

People who were looking at a $4000 HVR-V1U are not going to need or afford a RED camera, and people for whom spending over $100,000 on equipment aren't necessarily looking for a bargain but probably have some specific format that they need to shoot for their specific market. If they need to string a bunch of Ikegami's for a live rock concert in 1080/60i with live switching, then they will probably go with what they are comfortable with.

David, thank you for the clarification.

I value your opinion very much so let me ask you a question, do you see the Red One being comparable to the Genesis and D-20 in terms of visual quality? I know it may be a bit pre-mature to make this assesment based off of one short. Yet, the short did put the camera through many shooting situations and it suceeded in producing a beautiful and dynamic image.

In a lot of ways, this camera is what the Kinetta promised to be three years ago, and I think its success is going to shake-up the long-held domination of corporations like Sony and Panasonic in the mid-range professional video camera world. Sony's talking point at NAB was to dismiss these cameras (RED, Dalsa, SI, Phantom, etc.) as "science experiments" rather than a practical reality, but I think they are a lot more real than Sony wants to admit.

David, I'm wondering what you mean by mid-range pro video camera?

If Red is mid-range, what would you consider to be high end pro video?

I honestly see Red as not only competition to the top grade digital cinema cameras but a giant killer at that.

--------------------------

Alexander Nikishin

Cinematographer

Vision Cinema Inc.

Long Beach, CA

There will always be pessimists.

You mean the "RED EYE" focus assist right Graeme. =)

I agree they are constantly revising thats why I'm posting. Giving feedback. I'm almost sure 3rd parties will develop for the cam but who knows when those will come. When the camera ships seems only the red rails will work and I strongly hope its drasctically re-modified

I remember the first rigs they had that aren't on the website anymore. Seems those , the red handles especially, although they needed work, were going in the right direction. This new rail thing is a monstrosity compared to those.

You've got to be joking....Due to a prototype of the rail system you're going to hold off on RED?

First off it is only a prototype.

Second, they've developed a 5k super camera in 8 months, what makes you think they can't develop a solution to a rail sysytem design flaw before RED's release?

Lastly, with that level of trust in the genius team behind RED, I'll see you on the sidelines my friend.

It's a video camera that's why.

 

On a serious note, a poster mentioned earlier about the "recording device". What does that mean? Does this thing shoot onto tape or hard disk? When people say $17,000.00 for just the camera does that mean only the camera body, like a Beta Cam minus the deck behind the camera?

 

On the lens front what is this 300mm stuff people keep mentioning? You mean it will come with a 300mm zoom lens like a BetaCam style set up?

 

Will this camera be in PL Mount so that film shooters who own nice glass can use their existing lenses?

 

R,

To answer some of your questions to the best of my knowledge, yes, RED will allow for a PL mount lens. That has been stated many times on many different forums.

The recording units will range from external drives to RED flash arrays amongst other possibilities. Pricing has yet to be stated for these device but has been hinted at being in the $1,000 range.

The $17,500 is the price for the RED-ONE camera body alone.

The 300mm RED lens is sold seperately at the cost of $4,995 and can be seen here...

http://www.red.com/product/lenses/300mm-2....41da01b28f8f11e

All of this information can be found on the RED.com website. Also Richard, for someone who spends soo much time being a RED antagonist, you could spend a little more time visiting some websites to find out the details on RED.

There are detailed and continuing talks about RED going on at DVXUSER.com in the RED dedicated forum...

http://www.dvxuser.com/V6/forumdisplay.php?f=58

Film stock slowly degrades with time.

Digital content remains pristine.

The argument of digital archiving being "un-safe" is ridiculous.

All that needs to be done to maintain a "safe" copy of their digital content is to continuosly cycle copies of their content onto new drives every 6 months to a year. Problem solved.

Well Murdoch, with your way of thinking, your last leaf shall soon fall and float off into the past as will your way of thinking and lack of ambition for the future of cinema.

Wow Mr. Murdoch, you're quite the narcissist.

In the immortal words of Master Yoda, ?Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering.?

Hey Matt, how's it goin'?

 

Matt, have you seen this with your own two eyeballs and can 100% verify this because you've tried it with your Marshall & HVX200? I just wanna make sure before I spend the extra $$$, ya know?

I tested this out with my Marshall HDA and a friends s-video model and believe me, there is a noticeable difference.